Podcasts about bectu

Long hours and broken turnarounds... are TV and film crews being squeezed to breaking point? Plus film critic and broadcaster Rhianna Dhillon joins us to look at the issue - and how the Oscars' TV show is still searching for a younger audience.Also on the programme: City AM is one of the last freesheets standing. Editor Christian May is here to reveal its staying power.All that plus: the BBC gets another grilling from MPs, Channel 4 News gets caught up in the Gaza doc controversy... and, in the Media Quiz, our pundits try to score a perfect ten.That's all happening in this edition of The Media Club. Come on in!Become a member for FREE when you sign up for our newsletter at themediaclub.comA Rethink Audio production, produced by Matt Hill with post-production from Podcast Discovery.We record at Podshop Studios - for 25% off your first booking, use the code MEDIA CLUB at podshoponline.co.ukWhat The Media Club has been reading this week:Tim Davie 'open minded' about streamer levy in MP grillingChannel 4 also features Hamas minister's son in Gaza doc BECTU campaigns for more rest breaksPaul Marshall Floats Jounalism School to rivalsTelegraph pays £10/pic for social media picturesScrabble to become a TV Game ShowLeft Bank revenues dive post-Crown Hosted on Acast. See acast.com/privacy for more information.

Gregg Wallace has stepped away from presenting BBC's MasterChef after accusations he made sexual comments towards staff and celebrity guests on a range of programmes over 17 years.    In response to the allegations, which he denies, Mr Wallace initially dismissed his accusers as "middle-class women of a certain age".     On today's Daily, Niall Paterson speaks to Dorothy Byrne, ex-head of news and current affairs at Channel 4, and Philippa Childs, head of the TV, film and theatre union Bectu, about what the allegations, and Wallace's reaction, tell us about attitudes to women in the media.  Producers: Soila Apparicio, Rosie GillottEditor: Philly Beaumont    

David Oyelowo talks about playing Coriolanus in the National Theatre's new production. He explains why it's the role he's always wanted to take on - encompassing tragedy, politics and the challenge of stage combat. Dame Eileen Atkins talks about her late friend, the great actress Dame Maggie Smith. We visit the studio of cartoonist Ralph Steadman and get an insight into the range of his work from children's book illustrations to eco-activism. And, what progress has been made to tackle harassment and exploitation in the entertainment industry? Heather Rabbatts has spent three years setting up the Creative Industries Independent Standards Authority and Jenny Tingle is from the trade union BECTU and they join Samira to discuss what's happening. Presenter: Samira Ahmed Producer: Ruth Watts

In Episode 141, we are joined by vastly experienced editor and director Vito Milazzo. Vito's recent directing work includes ‘Playing The Game' (BBC), and he's edited a wide range of shows, including ‘Frankie Boyle's New World Order,' ‘Celebs Go Dating,' and ‘Short Stuff.' Vito chatted with us about everything from: What caused the crisis in TV and Film. His pathway to becoming an editor and director. The moment an inspiring teacher changed his life. How we can create positive change in a struggling industry. His advice for others and much more.   Vito Milazzo:   The TV Watercooler: https://tvwatercooler.org/ The TV Mindset on Instagram: https://www.instagram.com/the_tv_mindset/  BECTU: https://bectu.org.uk/  Vito on TOVs: https://tovs.co.uk/personnel/vito-milazzo/    Check out our website!: https://www.justgetarealjob.com  Donate to our Patreon page ☺️: www.patreon.com/justgetarealjob  Follow us on... Instagram: https://www.instagram.com/justgetarealjob/  X: https://twitter.com/justgetarealjob 

Ever wondered what the creative process is behind the films, tv shows and theatre productions you watch? Well, Crew Chats is a podcast going behind the scenes and chatting to the crew that help make these productions. The writers and actors strikes in America ended in September and November 2023 respectively, however work in the UK has been slow to return to pre - strike levels. So, for episode 64, I caught up with BECTU Costume and Wardrobe committee members, Charlotte Sewell, Poli Kyriacou and Nici Young. We spoke about the ongoing impact of the strikes in the UK, when the industry may pick up, future proofing the UK industry and what BECTU has and does to help crew. We spoke about links to useful resources and help which I have linked in the show notes. BECTU - Broadcasting Entertainment Communications and Theatre Union IATSE - International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artist and Allied Crafts of the United States and Canada, AFL-CIO, CLC SAG/AFTRA - Screen Actors Guild – American Federation of Television and Radio Artists WGA - Writers Guild of America PACT – Producers Alliance of Cinema and Television HELPFUL RESOURCES: https://www.bectucostume.com/the-commitee https://bectu.org.uk/ https://prospect.org.uk/money/ https://bectu.org.uk/about/earlybird/ Fabain Society Manifesto https://www.screenskills.com/ https://filmtvcharity.org.uk/ 24hr Support Line -0800 054 0000

The EU Digital Services Act, which aims to tackle disinformation and misuse of user data, offers a blueprint for internet regulation around the world, but will it work? Plus we hear results of a new survey from entertainment union Bectu about the plight of UK freelancers during the Hollywood writers' strike. Guests: Jen Baker, European tech and policy journalist; Adam Satariano, Technology Correspondent, New York Times; Chris Stokel-Walker, tech journalist; Nick Seeber, Global Lead Partner for Internet Regulation, Deloitte; Jackie Sweeny, independent hair and makeup artist; Spencer MacDonald, National Secretary, Bectu. Presenter: Ros Atkins Producer: Simon Richardson

Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, Crew Chats is a podcast going behind the scenes and chatting to the crew that help make these productions. Episode 53 is slightly different to the usual, I spoke to Assistant Costume Designer, Charlotte Sewell Costume Designer Molly Emma Rowe. Both Charlotte and Molly are on the Costume and Wardrobe branch committee of BECTU. BECTU is the trade union supporting UK staff and freelancers working in the media and entertainment sectors. I spoke to them about the strikes going on in America, the impact here in the UK and the importance of unions and how they can help you. We mention acronyms for the unions and I have put the definitions in the show notes. For reference as we spoke about negotiations beginning again, the date we spoke was 11th August. BECTU - Broadcasting Entertainment Communications and Theatre Union SAG/AFTRA - Screen Actors Guild – American Federation of Television and Radio Artists WGA - Writers Guild of America IIATSE - The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada PACT – Producers Alliance of Cinema and Television HELPFUL RESOURCES: https://www.screenskills.com/ https://filmtvcharity.org.uk/ 24hr Support Line -0800 054 0000 https://www.bectucostume.com/the-commitee bectucostumewadrobe@gmail.com https://bectu.org.uk/

Graham Stuart is the Managing Director of So Television, the independent production company that he founded with the chat show host Graham Norton 25 years ago. He talks about how he made the transition from sports presenter to running things behind the scenes, and how he keeps his business relevant in a fast-changing media landscape. Justin and David discuss emergencies - both the 'freelance emergency' announced by the trade union BECTU in the unscripted sector, and the effect that real-life emergencies can have on a show's production schedule. Plus, there's all the usual format news and another attempt at devising a 'Four Minute Format'.Support this show http://supporter.acast.com/tv-show-podcast. Hosted on Acast. See acast.com/privacy for more information.

Sign up to the free TellyCast newsletterBectu - the union for 40,000 staff, contract and freelance workers in the UK media and entertainment industries recently declared an emergency as large numbers of TV professionals are facing unprecedented gaps in employment in the unscripted sector.This week I'm chatting with  Viki Carter and James Taylor, TV freelancers and co chairs of the UTVU, the unscripted TV Union and part of Bectu, to discuss the issues facing unscripted freelancers and search for some solutions. In conversation with TellyCast's Justin Crosby.Support the showTellyCast websiteTellyCast instaTellyCast TwitterTellyCast YouTube

Channel 4 execs are in line for a big payout for warding off privitisation - but BECTU is not happy. Media news and analysis with Matt Deegan and guests Ann Charles (Radio Techcon) and media writer Maggie Brown.Also on the programme - GB News sticks the knife into This Morning, there's another UK podcast company acquisition, and what we can expect from the acting chair of the BBC.All that, plus in the media quiz... we play a game of Backed, left or Sacked. A Rethink Audio production, produced by Matt Hill.Love our look and sound? Hire thelondonpodcaststudios.com for your next recording. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

How fair is work? In the third in a special series in association with Prospect, the leading British union for professional skilled workers The Nowhere Office co-hosts Julia Hobsbawm and Stefan Stern talk exclusively to Baron John Hendy KC, one of the UK's most prominent employment barristers who has made landmark case law over five decades before being joined by Philippa Childs, Deputy General Secretary of Prospect, heading up Bectu, to discuss the history and contemporary aspects of a fair workplace. Has digital working made life harder or easier for those in and outside offices? Plus perspective from Prospect's Andrew Pakes, Deputy General Secretary and Director of Communications and Research. A Fully Connected production executive produced by Julia Hobsbawm.

Today's guest is Paul Dudbridge, author of Making Your First Blockbuster: Write It. Film It. Blow it Up! Paul Dudbridge is a British director, producer, cinematographer, and educator, who makes feature films, television, commercials, and music videos.Paul started producing at the age of 11 when he roped in his father to shoot his first short film. When the resulting footage didn't match up to what he had seen in his head, Paul decided to go behind the camera himself, and from there, the whole notion of making films, directing, scripts, shots, and angles started to emerge.With over 20 years of experience in the business, Paul has numerous film and television credits to his name.His first broadcast credits include producing and directing ITV's The Christmas Storybook, featuring legendary actor Joss Ackland, as well as directing music promos for MTV. His work as a cinematographer includes the action thriller By Any Name, based on the best-selling book by Katherine John.As a producer and director, he helmed the science-fiction series Horizon, which went on to win a number of awards at international film festivals, as well as earning Paul a Best Drama Director nomination at the Royal Television Society (WoE) awards in 2016. When not filming, Paul guest lectures at various universities and colleges around the country.Most recently, he ran the Writing and Directing module for the Master's course at the University of Bristol, taught Cinematography at Falmouth Film School, and Advanced Cinematography workshops for BECTU, the UK's media and entertainment trade union.Here's some info on his new book Making Your First Blockbuster: Write It. Film It. Blow it Up!Everything you need, from getting the script right to the edit being tight, is laid out in an informal and easily digestible style. Making Your First Blockbuster covers not only all the major components but delves deep into the nuances that make the big blockbusters really deliver. The book uses examples from older and modern blockbuster movies, as well as the author's own experiences on set to help demonstrate points clearly and make them easy to understand. Aimed at the professional filmmaker, this comprehensive new book also covers how you can shoot and utilize special and visual effects in your films, as well as the techniques on how to shoot and edit action sequences safely, all whilst producing epic results on the screen.Please enjoy my conversation with Paul Dudbridge.

This week we caught up with Courtney Pryce. The industry veterans know him from his years as a Creative Specialist at Foundry.We cover a lot of ground, beginning in the "Rock&Roll" years of London VFX in the early 2000s. Also covering the role of the Creative Specialist and the secrets of financial stability as a Compositor. Courtney worked with UK Film and TV industry Union, BECTU, to put together a suggested rate card for freelance and contract staff in VFX. We get to engage with the methodology and consequences of open disclosure of the often taboo subject of the pay scale.Courtney also engaged strongly with the industry-wide discussion of racism sparked by the Black Lives Matter protests in 2020. We don't shy away from tackling the issue of racism and nepotism in the workplace and there is a forthright but ultimately optimistic discussion.Nevertheless, we never lost sight of Courtney's key skills as a solid professional compositor and reactive as he shares a wealth of knowledge that will benefit artists of all levels and from all backgrounds.You won't want to miss out on this discussion!As always, if you liked this episode, please

I spoke to Adelaide Waldrop a certified Intimacy Director with Intimacy for Stage and Screen (ISS), where she trained with Lizzy Talbot and Yarit Dor (she began training in this work in 2017 with various practitioners in the UK and US). She also serves as the Secretary of the Intimacy Coordinators's Branch of BECTU and teaches Intimacy for Performance at LAMDA. Speaking of which, Adelaide graduated from LAMDA's MA in Directing programme in 2017. She has directed productions in the UK and America and is the co-founder and co-Artistic Director of devised theatre company Maude. Her credits as an intimacy co-ordinator include the upcoming Netflix erotic thriller DAMAGE and upcoming ITV queer period drama THE CONFESSIONS OF FRANNIE LANGTON. Past credits include Jack Rooke's TV series BIG BOYS, Charlotte Wells' directorial debut AFTERSUN, BBC drama THEN BARBARA MET ALAN written by Jack Thorne and Genevieve Barr. She is currently working on the HBO/Channel 4 series GET MILLIE BLACK by Marlon James. We talk about drama school, how directing a production of Spring Awakening at 19 provided a first taste of co-ordinating intimacy, how establishing the necessity of having an intimacy co-ordinator on certain sets was at times difficult, choreographing non-sexual intimacy such as the father-daughter relationship between Paul Mescal and Frankie Corio in upcoming MUBI release and Cannes darling AFTERSUN, the kind of persona Adelaide embodies in order to do her job well, how she holds space for actors to admit discomfort and pushing the industry forward to be more representative and inclusive in its depictions of sex. The fact that there are still actors who denounce the need for safe-guarding and choreography when it comes to sex scenes or any scene of an intimate nature, I think underscores the need for these kinds of conversations and I am beyond thankful to Adelaide for having this one with me.

How can workers shape the future of work? What role do trade unions play in the 21st century? And why is simply talking usually the answer?   In this week's 5 Big Questions interview we talk to trade unionist, policy expert and employment rights advocate KATE BELL Twitter: @kategobell | @The_TUC Known for: Head of Rights, International, Social & Economics - Trade Union Congress Member - Low Pay Commission Former Policy Advisor, Work & Pensions - The Labour Party Former Director of Policy Advice & Communications - Gingerbread The Big 5 Questions: How do you measure the impact of what you do? How should people/businesses be preparing for the future? How do we build the workforce we need for that future? How do you use creativity to solve problems? How do you collaborate? Key quotes: “Trade Union membership has been growing for the last four years. I think in the pandemic many people have thought, actually I need someone to stick up for me in the workplace, I'm genuinely worried not just about whether I'm being paid fairly but is it actually going to be safe for me to go to my place of work.”    “We are a democratic organisation. One of the reasons I really enjoy working for the trade union movement is you have got that very direct feedback. That's not always comfortable, it can be difficult and people can have very different views. But it's a very good feedback mechanism. It's a real advantage of working in a democratic movement.”   “We've also been calling for better sick pay. Have we got the change we wanted? Absolutely we have not. The government has not budged. The level of sick pay has not gone up beyond the rate of inflation and there's still two million people who are excluded. So when I try to assess: my team have been absolutely amazing in the work they've done. Have we made a difference? No we haven't.”   “We share history and values with the Labour Party but we're not affiliated to anybody.”   “We can shape the future of work.”    “The first thing I would advise any business to do is talk to your workers about the future of work they want. Where they see the possibilities for innovation and what that means for their working lives. There's loads of evidence that talking to your employees not only makes them happier but also makes your business more productive.” Useful links: Kate Bell's page on the TUC website // tuc.org.uk/person/kate-bell Trades Union Congress // https://www.tuc.org.uk/ Francis Fukuyama — ‘The End of History and The Last Man' (Amazon audiobook) // amazon.co.uk/End-History-Last-Man/dp/B07GFMH58F/ref=sr_1_3?keywords=Francis+Fukuyama&qid=1647535174&s=audible&sr=1-3 (The Hive eBook) // www.hive.co.uk/Product/Francis-Fukuyama/The-End-of-History-and-the-Last-Man/11400026 Musicians Union // musiciansunion.org.uk/ BECTU // bectu.org.uk/ Equity (the actors union) // equity.org.uk/ Four Day Week campaign // fourdayweek.co.uk/   This episode was recorded in January 2022 Interviewer: Richard Freeman for always possible Editor: CJ Thorpe-Tracey for Lo Fi Arts

XAVIER DE SOUSAXavier de Sousa (he/they) is an independent performance maker and culture worker based between England and Portugal. He has collaborated with a variety of performance artists and live artists and his solo work in clude POST, Almost Xav, Pós- and the durational show REGNANT.Xavier curates digital performance programme performingbordersand New Queers on the Block, the Marlborough Productions' Artist and Community Development programme.Xavier is a co-founder of Migrants in Culture and is a member of the BECTU union and the Independent Theatre Council.TOM DOYLETom Is the Chief Executive of Yorkshire MESMAC group of services. He has been involved in LGBT Issues and in particular HIV and sexual health promotion for over 30 years as an activist, volunteer and paid worker.Before joining Yorkshire MESMAC in 1990 Tom worked in community theatre, and theatre in education where he developed a strong interest in Community Development which led him to move on to become a Social Action Broadcaster on local radio.He is the founder and Chaired of Leeds LGBT+ Pride for 10 years.FOLLOW RAINBOW CONVERSATIONS ON INSTAGRAM AND TWITTER Hosted on Acast. See acast.com/privacy for more information.

Henry and Nat chat: COP26 a cop out? Reflecting on the climate movement with theatre director Zoe Lafferty. We discuss 'success' and tactics, as well as the usual questions of hope. Laurence Johnson and Mairi Claire Bowser from BECTU about sustainabilty in film and TV. Plus interview and performance with poet Chris Singleton and some bangin' tunes.Please be aware during the show we discuss Joe Solo recieving an award. This has since been withdrawn.Hope Not Hate's statement: https://twitter.com/hopenothate/status/1461060330126258181Joe Solo's statement: www.facebook.com/joesolomusic/posts/10226322159341961@vandal_factorywww.facebook.com/vandalfactorytheatre

Hablamos de FX, qué es y qué hace un FX TD con Luis Cancio Villalonga, actualmente FX TD en Electric Theatre Collective. Ha trabajado también en Cinesite, Dneg o The Mill entre otras. También hablamos de salarios y las recomendaciones para freelance de BECTU, aquí la tabla comparativa. Podéis enviar un mensaje de voz desde el enlace al final de este texto. O contactarme por los medios que pongo aquí debajo. adriancastroviejo.com @AdrianCastroV Music: Wait For Me (Paul Kalkbrenner Remix) by Moby, courtesy of https://mobygratis.com Music: The Right Thing (Cosmonauts Remix) by Moby, courtesy of https://mobygratis.com --- Send in a voice message: https://anchor.fm/charlascgi/message

Following a whirlwind week, the Broadcast Newswrap gets into the weeds of Piers Morgan’s GMB departure and Bectu head Philippa Childs is on hand to assess how it will impact the industry’s fight against bullying and harassment. In response to Ian Katz’s stern warning to on-screen talent, Philippa urges the broadcasters to be more transparent and make a strong public statement against bullying. Meanwhile, international editor John Elmes, reporter Hannah Bowler and senior reporter Max Goldbart discuss GMB succession plans and mull the future of Piers Morgan’s Life Stories. Plus, a riveting edition of everyone's favourite ’What We’ve Been Watchin’’ section, featuring a royal interview, a Channel 4 90s cult classic and a double helping of Jed Mercurio. 

In this week's UnionDues we have an in-depth chat with Philippa Childs, head of media union Bectu As well as most of Bectu's substantial freelance members being excluded from government Covid support schemes, there is a new hit  as post-Brexit bureaucracy stymies work opportunities in mainland Europe. The culture of broadcasting, and the media in general,  is also very much in Bectu's sights and tacking the lack of respect and the intersection of discrimination on the basis of race, gender, and other protected characteristics is at the forefront of Bectu's work.  As you would expect,  she is also passionate about the importance of public service broadcasting  in general and the BBC in particular. We also have a barnstorming #thought4theweek with Prof. Mel Simms, reflecting this week that having a seat at the table is just as important as what we say when we ‘re sat down at it. Plus LFF's very own Josiah Mortimer previews his #RadicalRoundUp – including structural racism in the UK labour market, dodgy car makers, and living wage employers who, er, don't want to pay the living wage. A Makes You Think production.  Companion blog available here  

We're joined by special guest host Patrick Whife, Icon's Training & Development Manager, as we talk about the challenges facing the conservation and wider heritage world — and what we can do support the sector. We talk advocacy, unions, CPD and more! Also tune in for a review of 'Culture is Bad for You' which gets Jenny all fired up. 01:08 What's the current picture like? 07:02 What do we know of the impact on conservators? 11:52 Kloe's justified anger 19:45 Hey, maybe join a union 26:57 What's Icon doing right now? 31:26 What are other bodies doing? 33:46 Advocacy, jobs, and apprenticeships 40:26 Accreditation and CPD during a pandemic 45:35 Review: Culture is Bad for You 50:56 Patreon shout out Show Notes: - Museums Association Redundancy Tracker: https://www.museumsassociation.org/campaigns/workforce/redundancy-tracker/ - Icon Coronavirus Impact survey: https://icon.org.uk/news/icon-coronavirus-survey-loss-of-work-for-conservators - Icon Coronavirus Hub: https://icon.org.uk/resources/coronavirus-guidance - UK unemployment summary: https://www.bbc.co.uk/news/business-52660591 - Trade unions call for overhaul of 'disastrous' cultural policies: https://www.museumsassociation.org/museums-journal/news/2020/10/trade-unions-call-for-overhaul-of-disastrous-cultural-policies/ - Public and Commercial Services Union: https://www.pcs.org.uk/ - Twitter paper about conservators and unions: https://twitter.com/PhilParkes4/status/1202210961899376640 - Science Museum Group strike from 2019: https://www.theguardian.com/culture/2019/aug/30/science-museum-workers-england-strike-pay - Prospect Union: https://prospect.org.uk/ - Bectu: https://bectu.org.uk/ - Fair Museums Job Summit Week: https://fairmuseumjobs.org/2020/11/09/fmjsummit-first-sessions-announced/ - Go follow Fair Museum Jobs: https://twitter.com/fair_jobs - Go follow Shittish Museum: https://www.instagram.com/shittishmuseum/ - Conservation Together At Home series: https://icon.org.uk/groups/book-paper/conservation-together-at-home-webinar-series - Kickstart job scheme: https://www.gov.uk/government/collections/kickstart-scheme - Museums Association Covid Hub: https://www.museumsassociation.org/campaigns/advocacy/covid-19/ - Museums Association Redundancy Hub: https://www.museumsassociation.org/careers/redundancy-hub/ - Culture is Bad for You: https://manchesteruniversitypress.co.uk/9781526144164/ and https://www.amazon.co.uk/Culture-Bad-You-Inequality-Industries/dp/1526144166/ Support us on Patreon! http://www.patreon.com/thecword Hosted by Jenny Mathiasson, Kloe Rumsey, and Patrick Whife. Intro and outro music by DDmyzik used under a Creative Commons Attribution license. Made available under a Creative Commons Attribution-NonCommercial 4.0 International license. A Wooden Dice production, 2020.

Simon assesses the prospects for growing unionisation of the self-employed, looking at the greater appetite for collective voice and belief that more can be achieved by working together on issues that matter most.  Established and new unions are reporting a new enthusiasm with NUJ recruitment up by as much as 60%, and new actors such as The Creator Union coming onto the stage.   But this should be no surprise.  The self-employed sector now accounts for 1 in 6 of UK workers, some 5 million people.  And 40% of them are on poverty pay.  And as becomes sadly clear, the lack of diversity in the creative industries is no accident – and that makes action on inclusivity imperative. With Pam Morton (NUJ) Kate Dearden (Community) founders of the new Creator Union, Kat Molesworth and Nicole Ocran, and Paul Evans (BECTU) . UnionDues is part of the Labor Radio Podcast Network.  Read the companion blogpost. A Makes-you-Think production. Timestamps- NUJ - 2m55s, Community - 11m23s, TCU - 19m04s, Bectu - 31m13s

Michael Kiwanuka said he was seriously surprised when he won the 2020 Mercury Prize last week. Tom Sutcliffe talks to the singer-songwriter about dropping out of his music degree, hanging out in Hawaii with Kanye West and asks why such modesty when his self-titled album had rave reviews on release, and reached number 2 in the charts. Director Joe Mantello on his new film version of The Boys in the Band, Mart Crowley’s ground-breaking 1968 play about a group of gay friends at a birthday party in New York. As the Covid crisis continues, last week Chancellor Rishi Sunak announced viable jobs will receive support. As the creative industries rely on freelance workers Front Row discusses what this means for them, first talking to set designer Rebecca Brower, who has lost most of her work this year because theatres are closed. Plus Philippa Childs, head of the union Bectu, to which many freelance creatives belong, explains why so many won’t qualify for help. And director Fiona Laird offers an overview, suggesting ways to create future work for freelancers in the industry. Presenter: Tom Sutcliffe Producer: Julian May Studio Manager: John Boland Main image: Michael Kiwanuka Image credit: Olivia Rose

Leo Anna Thomas (Wellbeing Facilitator) and Matt Longley (6ft From The Spotlight) talk to Emily Collin who is the Negotiations Officer for the London Production Division of the crew union BECTU about why crew should join the union. What are the benefits? What reasons do people give for not joining and why they are not necessarily valid reasons

Both Charlottes have individually clocked up an extraordinary list of production-credits, perhaps unsurprising given their unique understanding of how the costume department functions within the overall structure of a production. Amongst other topics, they discuss how they’ve recently become co-chairs of the costume and wardrobe film and TV branch of BECTU .As they talk, the value they both place on fairness, respect and equality within the workplace emerges clearly. Both believe that within the highly-pressurized working environment of a film or TV production, errors are unfortunately inevitable in terms of safe working-practices. During their tenure at BECTU, they will strive to build up a strong membership, to protect and promote the best working-practices and to encourage a creative and harmonious space for their members. bectucostume.comangelsbehindtheseams.com 

In the latest UnionDues podcast,  Simon chats with Nationwide Group Staff Union General Secretary Tim Rose.   NGSU are a single employer union but well established and with high density levels, working inside a big player in the world of finance and the world of mutuality. So how, then,  do you retain true independence from the employer?  What structures, organisation and governance do you need to maintain that? What are the strengths and advantages of working in this way as opposed to the challenges and constraints? We also take our regular sweep around the industrial landscapes and there's an update on the BABetrayal campaign, BECTU continuing to push for the gaps in coronavirus compensation schemes to be closed, the story of how a belligerent employer was brought to book as the Great Post Office Trial is brought to a huge new audience, and Labour Research's Lionel Fulton joins us to introduce a new guide to state benefits under coronavirus. Join the conversation at uniondues@makes-you-think.com.  Tweet us @DuesUnion.   You can access all episodes here – please do download, stream, share, rate, but above all enjoy. Stay safe.  A Makes-You-Think production

What’s happening with my counterparts and former coworkers? My latest inquiry has lead me to a counterpart across the sea. What do you know. They have museums over there too. My next guest is a fascinating woman with a great story that I am eager to share with you. Sarah Titheridge changed course from a likely career in either art history or art conservation to the hands on job of Art Handler or Art Tech as they say across the water. In addition to that she has also set up a few resource websites for those working in the field, starting with Art Tech Space, known for connecting employers with art techs and hosting forums for users to connect and talk about the biz. I’m so happy she was able to talk to me and fill me in on all the details. Listen up people.ArtTechSpace https://www.arttechspace.com/ArtTechlympics https://www.arttechlympics.uk/BECTU art technician branch https://bectu.org.uk/get-involved/art-technicians-branch/International Mountmakers https://www.mountmakersforum.net/Art Technician Emergency Fund https://www.jumblebee.co.uk/arttechniciansemergencyfundBecome a patron of this podcast https://www.patreon.com/limitedperspective?alert=2

Blog Post link: https://battleswithbitsofrubber.com/54-approaching-workshops/ Folio under your arm, at some point you may wish to appeal to those who could give you a job. It's nervewracking to be judged, but your folio is maybe pages of your heart and soul now made visible for others to assess and rate. The main way anyone gets work is simply by having a portfolio of good work and then show that to someone who pays for people like that to solve a problem they have. There isn't a single path or trick to game the system. You are not likely to be given a job you are wholly unsuited to - the work is too precious to those who are looking to hire, and there is a pretty robust system of hiring. Here we discuss some main points to help you get your head straight. Think through what you could mean to them rather than what they can do for you. Listen to the podcast for the full monty, but the key points are listed below! 1.        How much to charge. Know your worth        Know how much it costs you to stand still for a day and do nothing.     How much do people get paid? Check with trade union pay rates for your region to compare and see what is current. 2.        The film industry isn't looking to take you on and train you. It doesn't need another mouth to feed. The machine which is the film industry isn’t looking to take on someone, spend time training them only to have them up sticks and work for someone else. The ‘industry’ isn’t a single entity, so much a mass of small companies, individuals and private interests. For anyone to take a chance on someone unknown, share their contacts, processes and the inner circle is quite a thing to undertake. The risk is you could take that and use what you have learned to help a competitor, so it’s a peculiar situation to be in. 3.        Waiting to be picked.       Someone waiting to be picked V an independent self-starter.         Evidence of motivated and talent.     Show evidence of your desire to do the work. A chef doesn’t require a fully fitted kitchen before making their first omelette – make what you can when you can to the best of your ability. Doing so will give you practice and display your journey to an interested party. The people you are trying to work for are like that and they know their own.  If you want to do it for a living then you should be doing it whatever. 4.        Awareness of the state of the industry.         Do you know about the industry? About current artists names, credits and back story?    We have taught at many places where students didn’t know the masters or even watch films to have an awareness of what went before. This is something your potential employers will notice as they DO know and care about it. How good are those currently working and do you measure up?    What can you do to improve?            What do people pay for? ... People pay to have their problems solved. Whose problems do you solve? Do you know the industry well enough to know that and how you can fit in to it?        What can you provide and where do you fit in the workflow?         5.        Actual ability levels.         Are you an asset or a burden? Are you asking to help them or are you asking them to help you. Conisder their needs first, and how it will shape your approach.          Does your folio show examples of what problems the employer will need you to solve?         6.        How Busy is the film industry right now?      The industry sweeps between crazy busy and deathly quiet. Are they too busy to see your folio?          Not busy means they may have time but they are not hiring either. How can you find out and what questions should you ask? It is easier to turn down an email than a phone call. Hard copy letter is something not too many do so maybe that is an option. You can’t game the system – good work and a good attitude will win. Some will hire because of the right attitude and whether you can fit into the organisation as it currently stands. They will pay for someone who is competent enough to do what is asked. Chances are they already have their key players in place, so they are not looking for a Jedi Master. They need enthusiastic and capable people they can slot into an existing framework and who will do what they are asked to do. 7.        How close do I live near the work?     If you don't, consider the following points. Travel costs     Accommodation costs            Loss of income from previous job you may leave      See it from employers’ point of view Language/visa/immigration issues to consider         8.        Luck. Right place, right time. The harder I work, the more good luck I seem to have.        You can't control your employers or their desire to hire. 9.        People hate 'dear Sir/Madam'           It displays a lack of awareness and disinterest, and laziness. Starting with ‘Hey everyone’ or ‘Dear Sir/Madam’ just smacks of cut and paste, and nobody wants evidence that you have cut as many corners as possible as to not even check to see how your enquiry is coming across. When I read this, I am not 'everyone'. Remember, a single person is reading this at any one time so address them as such. Don’t show your employer that you are lazy in the very first contact. Research who you are writing to. 10.      Offering to work for free. You are going up against people trying to make a living so few of your colleagues will think well of that strategy. Endless supply of newbies who think it’s a viable strategy but the essence is to get free training and opportunities in exchange for no pay. The cost to the employer is babysitting fees and stress, so not always a good deal for them. If you have competence then you should get paid for that. If you have no competence then maybe you shouldn’t be there. Taking work for no fee v covering material costs. Not to subsidise/finance the production. Working for free in order to gain experience and et something out of it, going in knowing this and not being taken advantage of. Maybe good experience and folio building but limit these jobs, and be wary of taking a paying job from someone by offering to work for free. 11.      Security, NDA's and outsider risk.        Relatively new phenomena which didn't affect those running shops when they started out.        Stolen phones, inadvertent plot spoilers, production protecting their investment. Can you be trusted or do you have a history of revealing every facet of your life online which may deter an employer.     If you seem to blab about every injustice you have perceived then as someone who may have to tell you to get stuff done, I am going to wonder if you will hate on me publicly and so that’s not a good quality to have in someone who I will need to have my back. Discretion is a desirable quality. 12.      Unions.        Does a union control the work and are you permitted?       BECTU in the UK. The IATSE in North America is more effective as a union. Unions protect workers and maintain pay and conditions but the trade off is it isn’t an easy path or an open door. The flip side is an unregulated workforce in which good people wouldn’t stand out in a listing. 13.      Look out for cons and being taken advantage of.   Paid/subscriptions/services to find work       Non-payment and getting ripped off. Starting out, eager to please but don’t agree to unreasonable. If you are not experienced enough to know what reasonable is then maybe you are too green to be taking commissions. Work for someone else and earn your chops.   14.      So what should I do to get my work seen? Do good work and present good, clear images. Digital folios are essential but consider a hard copy. These are people who sculpt after all, and like tactile objects.   Keep a list of who you contacted, when, who you spoke to and what was said. Follow up on any advice or information. Be on time. Try and meet people at trade shows and events such as The Prosthetics Event, IMATS and other gatherings related to your area f interest. Remember, you can't trick your way into work. You either have the chops or you don't. Good work gets seen and noticed. If you need to improve, then sink your energy into that rather than aggressive campaigns of hustling. Keep a professional social media profile and post good work regularly. Be persistent and polite. Once again, thank for listening. Consider leaving us a voice message to ask a question, say hi or to leave us an intro for the next episode! Tap the 'Send A Voicemail' tab on the right, or go to the contact page. Email is stuartandtodd@gmail.com. Please consider sharing this podcast with one person whom you think may enjoy it! We want to grow and with your help, we can! -Stuart & Todd 1.        How much to charge. Know your worth        Know how much it costs you to stand still for a day and do nothing.     How much do people get paid? Check with trade union pay rates for your region to compare and see what is current. 2.        The film industry isn't looking to take you on and train you. It doesn't need another mouth to feed. The machine which is the film industry isn’t looking to take on someone, spend time training them only to have them up sticks and work for someone else. The ‘industry’ isn’t a single entity, so much a mass of small companies, individuals and private interests. For anyone to take a chance on someone unknown, share their contacts, processes and the inner circle is quite a thing to undertake. The risk is you could take that and use what you have learned to help a competitor, so it’s a peculiar situation to be in. 3.        Waiting to be picked.       Someone waiting to be picked V an independent self-starter.         Evidence of motivated and talent.     Show evidence of your desire to do the work. A chef doesn’t require a fully fitted kitchen before making their first omelette – make what you can when you can to the best of your ability. Doing so will give you practice and display your journey to an interested party. The people you are trying to work for are like that and they know their own.  If you want to do it for a living then you should be doing it whatever. 4.        Awareness of the state of the industry.         Do you know about the industry? About current artists names, credits and back story?    We have taught at many places where students didn’t know the masters or even watch films to have an awareness of what went before. This is something your potential employers will notice as they DO know and care about it. How good are those currently working and do you measure up?    What can you do to improve?            What do people pay for? ... People pay to have their problems solved. Whose problems do you solve? Do you know the industry well enough to know that and how you can fit in to it?        What can you provide and where do you fit in the workflow?         5.        Actual ability levels.         Are you an asset or a burden? Are you asking to help them or are you asking them to help you. Conisder their needs first, and how it will shape your approach.          Does your folio show examples of what problems the employer will need you to solve?         6.        How Busy is the film industry right now?      The industry sweeps between crazy busy and deathly quiet. Are they too busy to see your folio?          Not busy means they may have time but they are not hiring either. How can you find out and what questions should you ask? It is easier to turn down an email than a phone call. Hard copy letter is something not too many do so maybe that is an option. You can’t game the system – good work and a good attitude will win. Some will hire because of the right attitude and whether you can fit into the organisation as it currently stands. They will pay for someone who is competent enough to do what is asked. Chances are they already have their key players in place, so they are not looking for a Jedi Master. They need enthusiastic and capable people they can slot into an existing framework and who will do what they are asked to do. 7.        How close do I live near the work?     If you don't, consider the following points. Travel costs     Accommodation costs            Loss of income from previous job you may leave      See it from employers’ point of view Language/visa/immigration issues to consider         8.        Luck. Right place, right time. The harder I work, the more good luck I seem to have.        You can't control your employers or their desire to hire. 9.        People hate 'dear Sir/Madam'           It displays a lack of awareness and disinterest, and laziness. Starting with ‘Hey everyone’ or ‘Dear Sir/Madam’ just smacks of cut and paste, and nobody wants evidence that you have cut as many corners as possible as to not even check to see how your enquiry is coming across. When I read this, I am not 'everyone'. Remember, a single person is reading this at any one time so address them as such. Don’t show your employer that you are lazy in the very first contact. Research who you are writing to. 10.      Offering to work for free. You are going up against people trying to make a living so few of your colleagues will think well of that strategy. Endless supply of newbies who think it’s a viable strategy but the essence is to get free training and opportunities in exchange for no pay. The cost to the employer is babysitting fees and stress, so not always a good deal for them. If you have competence then you should get paid for that. If you have no competence then maybe you shouldn’t be there. Taking work for no fee v covering material costs. Not to subsidise/finance the production. Working for free in order to gain experience and et something out of it, going in knowing this and not being taken advantage of. Maybe good experience and folio building but limit these jobs, and be wary of taking a paying job from someone by offering to work for free. 11.      Security, NDA's and outsider risk.        Relatively new phenomena which didn't affect those running shops when they started out.        Stolen phones, inadvertent plot spoilers, production protecting their investment. Can you be trusted or do you have a history of revealing every facet of your life online which may deter an employer.     If you seem to blab about every injustice you have perceived then as someone who may have to tell you to get stuff done, I am going to wonder if you will hate on me publicly and so that’s not a good quality to have in someone who I will need to have my back. Discretion is a desirable quality. 12.      Unions.        Does a union control the work and are you permitted?       BECTU in the UK. The IATSE in North America is more effective as a union. Unions protect workers and maintain pay and conditions but the trade off is it isn’t an easy path or an open door. The flip side is an unregulated workforce in which good people wouldn’t stand out in a listing. 13.      Look out for cons and being taken advantage of.   Paid/subscriptions/services to find work       Non-payment and getting ripped off. Starting out, eager to please but don’t agree to unreasonable. If you are not experienced enough to know what reasonable is then maybe you are too green to be taking commissions. Work for someone else and earn your chops.   14.      So what should I do to get my work seen? Do good work and present good, clear images. Digital folios are essential but consider a hard copy. These are people who sculpt after all, and like tactile objects.   Keep a list of who you contacted, when, who you spoke to and what was said. Follow up on any advice or information. Be on time. Try and meet people at trade shows and events such as The Prosthetics Event, IMATS and other gatherings related to your area f interest. Remember, you can't trick your way into work. You either have the chops or you don't. Good work gets seen and noticed. If you need to improve, then sink your energy into that rather than aggressive campaigns of hustling. Keep a professional social media profile and post good work regularly. Be persistent and polite. Once again, thank for listening. Consider leaving us a voice message to ask a question, say hi or to leave us an intro for the next episode! Tap the 'Send A Voicemail' tab on the contact page. Email is stuartandtodd@gmail.com. Please consider sharing this podcast with one person whom you think may enjoy it! We want to grow and with your help, we can! -Stuart & Todd

Jai Lusser is a 1st Assistant Director in Tv commercials. I have had the priviledge of ruuning and 2nd'n for Jai. Hes someone who has does so much for the role of assistant directing during his time in the ADA and BECTU. Hes also the only person I know to have completed the Capital ring on foot - legend on and off set. Check out his website to see some of the amazing projects he's worked on. www.jailusser.com Enjoy. Subscribe and share. Big love x Isusko www.thetimescheduler.com

My guest this week is Nia Hughes, an Organising Official for BECTU, the union for creative ambition. They represent over 40,000 staff, contract and freelance workers in the media and entertainment industries and do a lot of important work to support and advise their members on issues such as pay and conditions but also career development, contracts of employment, hours, leave, maternity, pensions and bullying and harassment. Nia was really integral to the Ritzy Cinema London Living Wage campaign, having started her career working for that very cinema and she is currently focused on supporting freelancers and making sure they know their rights.  If you are a freelancer in the film industry this episode is for you! Towards the end, Nia talks about several things you can and should be doing to protect yourself and maximise your chances of having a positive professional experience. They are golden nuggets of wisdom and I am so thrilled that Nia came on the podcast to share them. 

Today’s Episode is sponsored by THE FILMMAKERS PODCAST EPISODE 47 – BULLYING AND THE SILENT MAJORITY Intro Today I’ll be tackling a form of behaviour which I see more and more often and it took me a number of years to realise that BULLIES are as much a part of adult life as they were in school - but I’ve had enough of them, and I have started calling them out when they raise their ugly heads. They don’t like it though. They don’t like it at all.... Let me forewarn you that today’s show will be the longest episode to date and in numerous examples, I am about to relate I’m choosing not to name names so many years after most of the events took place. With all that said, hang on to your seats and let’s talk about BULLIES AND THE SILENT MAJORITY.  “No one can make you feel inferior without your consent.” Eleanor Roosevelt UNQUOTE Anecdote(s) As I sit and think of examples for this show, I find that only a few of these hurts still linger painfully on my consciousness – the majority of the bullying experiences that I have been the victim of over the years have actually been put to rest. These examples therefore are not exhaustive and I don’t look for pity by recounting them -  Instead I offer them up as examples, warnings, if you may, of what you must look out for in life, and in work. Nearly all men can stand adversity, but if you want to test a man's character, give him power. Abraham Lincoln UNQUOTE I’ll kick this off by talking about assistant directors – for those of you listeners that are not in the business, these are the people who manage the on set dealings on a film and who lead and drive the productions forward. Most of the 1sts I work with are good people. They are focussed on their work, and run a safe and happy ship, with a happy cast and crew, but which runs at a fast and driven creative pace that ensures it meets the planned schedule. There are those amongst the breed though which use gameplaying, sarcasm and in effect bullying, to meet the same fast and driven schedule. There’s one AD that comes to mind that treated me in a way that they would never get away with now – As I’d be sure set them straight if they tried it. I had been working as fight director on a feature and one day I was given a background artiste, who was monumentally miscast and totally unable to perform in a fight with any level of competence. Now I’m good at what I do, but I am not a miracle worker and on this film, I was just not given the support I needed. The way that AD spoke to me when he saw this poor guy try and perform, was utterly unforgivable. He spoke to me like some lower life form and treated me like crap during the whole production. One day he even left me behind at a location in the middle of nowhere with a crash mat so huge that it needed a truck to move – If it wasn’t for a junior producer who I respect greatly and who has now become quite successful in his own right, I might still be standing there. We had to squash it into the last vehicle left except us - The honey wagon, or toilet truck as you might know it, in order to get it to the next location. To say I was upset at that stage by my mistreatment is an understatement. That AD’s behaviour towards me was terrible and yet he was never brought to task. These days I like to know who the 1st AD is before I agree to work as I have a list of horrible 1st AD’s that I avoid. A very shortlist, and that guy is top of it, but a list nonetheless. Next, today, are the actors – not all actors I hasten to add – but the needy actors that drop me in it for no other reason than that they are seeking attention. An example of this would be those who - some way into the filming of a fight scene which I have carefully worked out with the actors, and on which I have checked in with them after each and every take to ensure they are happy and safe and been given the affirmative - to my surprise suddenly announce that they are actually finding it very tough and are struggling on despite the pain when asked by SOMEONE ELSE in production, for example, a 1st AD or a producer. I REALLY HATE IT WHEN THAT HAPPENS AND IT HAPPENS ALL THE TIME. This is really just attention-seeking, which has the side effect of placing me in a bad position and threatens my future re-employment, but it is a form of bullying nonetheless. On another feature, I was working as both fight director and second unit director and I picked up an incredibly painful injury called shin splints whilst rehearsing fights pre-shoot in a cold cold warehouse set. On this picture there was a makeup guy, with a very egotistic personality, who decided, not for a laugh, but out of sheer badness, to move my chair away from the secondary monitors whilst I had briefly stepped onto the set- and I’m up and down a lot during these things... When I returned I found my chair gone, and the space in which it had sat, now filled with other people, and heard giggles from that group, I was baffled by the behaviour. I hadn’t seen anything so overtly bully-ish since I was a child, and here it was in a so-called professional environment. At the time I let it go as I wasn’t exactly sure who had done it but the incident was quite upsetting and unnerving to me I am a genuinely hard worker with a pleasant professional demeanour. I had done nothing wrong, I was injured and I found myself to be the butt of some evil joke with no explanation. I was genuinely taken aback by the disrespect with which I was shown. One thing I’ve noted over the years incidentally is that some people read my pleasant professional and relaxed manner as a sign of weakness and on occasion, I have to kinda strengthen my resolve to something more authoritative when dealing with certain types of people - still remaining professional of course. Here I found myself being put through extreme pain seemingly for the pleasure of this bullish makeup guy and his cronies, all over seemingly over the real estate space my chair had been taking up next to the monitors. All this didn’t change the fact too that it was UTTERLY ESSENTIAL FOR SAFETY AND DIRECTORIAL REASONS THAT I SEE CAN ACTUALLY SEE A MONITOR. I found myself, injured and in pain, having to stand at the back and look over these fools to view the monitors. AFTER THIS HAPPENED, AS YOU MIGHT EXPECT, I NEVER SAT WITH THEM OR INTEGRATED WITH THEM AGAIN. A more subtle form of bullying behaviour which I’ve experienced a significant number of times, and another key reason why I finally gave up producing and directing films, comes from THE SIDELINER. I’ve talked about this form of toxic behaviour in the past and it mostly happened to me at producer and director level - a SIDELINER is a person that you are collaborating with who starts to shut you out of communications, usually because they pertain to money or ownership of a piece of creative work, despite it being ESSENTIAL and CORRECT that you are included. If this starts to happen, let me tell you one thing I have learned from hard-won experience. You are being scammed. Either out of credit for the work or out of money, and you can guarantee you are being talked about in a negative light. If there’s one thing that’s happened all too often recently in fact - that really gets my goat - it’s people tricking others into believing that they to speak with my voice, my thoughts and my opinions. Bullying builds character like nuclear waste creates superheroes. It's a rare occurrence and often does much more damage than good    Zack W. Van UNQUOTE I’ve not been physically threatened very often, that’s just not the sort of behaviour I come across, but I know a crewmember who was physically threatened on an independent picture quite recently. The bully, in this case, had made an incorrect assumption about that crewmember and they went barrelling after the innocent party, cornered them and gave them a ton of abuse about what the bully believed had been disrespect or uncaring attitude towards his “team”. Now, this is something I do come across - There are people out there, who DESPITE HAVING NOT A CLUE, count themselves EXPERTS on many things and decide to give you their opinion on whatever it is you are doing. This guy took it further even than that. Anyway, it reads to me that the BULLY was actually trying to show off to other crew members by confronting an innocent and trying to frame them for a crime they didn’t commit. Disappointingly for the bully, who was of the large muscly variety, the victim, in this case, a consummate professional, just calmly explained that his assumption was wrong. In turn, the self-appointed righter of some imagined wrong took it as far as he could and even with a producer witnessing it, until the victim, and I use that word with a certain sense of irony as they were, in fact, a martial arts expert of very high standing, finally took bully took him up on their offer to fight. The bully, as you might expect in a bullying story like this suddenly had a change of heart, backed down and slinked off. I’ll come back to these incidents later in the episode though as it’s not the end of the story or the lesson.    Lesson When one person makes an accusation, check to be sure he himself is not the guilty one. Sometimes it is those whose case is weak who make the most clamour. Piers Anthony UNQUOTE It’s not always easy to identify bullying as it can start out quite subtly and quietly. A bully will assess just how far they can go and even kind of befriend you or try to win your trust in the first place before targeting you. They may only turn on you in fact when they realise that their beliefs or passions or attitudes or religion or whatever are not the same as your own and it may at first be disguised in chit chat or sarcasm and be difficult for you to spot. Elsewhere, what may read as bullying might not be. When bad behaviour is pointed out to some people, they may be profusely sorry – maybe they had been having a bad day – or they have trouble at home – I can certainly recall times I’ve been shorter than I like with people because I was worried about something at home – so remember the old adage “Be kind, for everyone else is fighting battles that you likely do not know about.” Some people too, just have large or loud or brash personalities and may not intend their actions or words to be hurtful. I think what I’m saying is that it’s complicated - seemingly bad behaviour is not always intentionally bullying, but unintentional bad behaviour can still affect others in a negative way. I’m pussyfooting around another bullying territory, where some people have refined their character of VICTIM to such an art form, that they themselves have become the bully, and lie in wait to be offended and victimised. I’ll come back to these horrors in a bit as it’s kinda interesting… I’ll be using the term snowflake to capture this particular bully, but I do not intend to offend you with its use unless you really want to be of course. I’m sure you know this but… A Snowflake is a derogatory slang term for a person, implying that they have an inflated sense of uniqueness, an unwarranted sense of entitlement, OR ARE overly-emotional, easily offended, and unable to deal with opposing opinions. I’ll be using the term SNOWFLAKE to identify a bully who is so easily offended and ready to complain or play the victim card as to be classified a BULLY themselves. Michael J. Fox said “One’s dignity may be assaulted, vandalized and cruelly mocked, but it can never be taken away unless it is surrendered.” So BULLYING can include being yelled at, which I’ve seen happen a good few times in professional life – but I’ve also seen the opposite – people being accused of shouting when they are not – a true bully setting someone else up to seem like they are a bully - I’ve seen people being needled, sidelined or gaslighted by true bullies to the point where they are exasperated and kick off in frustration – then, in turn, they get unfairly accused of bullying while the instigator smiles quietly to themself. Eye-rolling is a small annoyance but one worth mentioning nonetheless –  Eye rolling drifts into the area of bullying when it is used to undermine someone either quietly behind their backs for the benefit of others or directly to put them off, inferring “here we go again” or some other rudeness. I was once in an early meeting with the 1st AD for a feature film and when it ended, was told by my assistant that the 3rd AD was eye-rolling behind my back as I talked about avoiding a few particularly dangerous extras that were attracted to low budget action films. I never pulled her up about it, but do you know what? On the very 1st day of shooting, that 3rd AD put one of the three extras I had asked her to avoid onto the set with me. I couldn’t fucking believe it. A quick Google search threw up a few more examples of workplace bullying. There’s obviously verbal abuse, not necessarily shouting - like telling someone they are useless or unreliable or stupid or being ‘talked down to’ like what happened to me in my first example Ill-treatment such as ostracism (‘being sent to Coventry’). I had that happen to me last year and will talk about it a little later. Being constantly criticised, having duties and responsibility taken away without good reason – Yip tick that one-off, I’ve experienced that. Shouting, aggressive behaviour or threats. – On occasion yes. Being put down or made to feel the butt of the jokes – Yes tick that one too. Being persistently picked on in front of others or in private – Yes but not so much these days. I can give off an air of supreme indifference to this sort of thing so they usually don’t bother me much. Being constantly ignored, victimised or excluded regularly. Oh yes. Very annoying. Big tick on that one. Constantly mocking and attacking - yip Spreading malicious rumours – yip, two ticks on that one. Misuse of power or position to make someone feel uncomfortable or victimised – yip – very prevalent in my experience. Making threats about job security – absolutely Blocking promotion or progress within the workplace. I’m sure it happens. Progress within the industry is near impossible at the best of times though so I can’t think of an example off the bat. And it’s not listed here but cyberbullying should probably be mentioned. It’s a whole other thing but it can’t be ignored. I went through a couple of years where my website and email were attacked again and again, possibly by bots that had found a weakness in the sites structure or my email address which at that point was more easily online or maybe it was just by a troll with nothing better to do. For the record, I solved it by moving my site off of WordPress and changing my email host to Gmail, but it was a bit of a drag nonetheless. Coming back to the topic of SNOWFLAKES; In an article in Psychology Today which I’ll link to in the show notes, Psychologist Jon Haidt contends that instead of learning to grapple with viewpoints that diverge from their own, students are now learning the “twin habits of defensive self-censorship and vindictive protectiveness.” In other words, they pretty quickly grasp WHICH VIEWS ARE PERMITTED AND WHICH ARE NOT, and LEARN TO CONFORM. When they disagree with accepted opinions, they know to keep quiet because others who hold accepted views will thoroughly lambast anyone who dares speak up. This is an incredible snapshot of modern society, not just students. I’ve certainly seen this behaviour many times in the film industry. I’m trying to keep this show in ADULT territory but the article is a fascinating read – It says that in school “Good” children learn they can get away with mean-spirited behaviour like name-calling and social exclusion as long as there is unspoken peer agreement regarding which children are acceptable targets — and those targets are typically the unconventional, nonconformist, “different” kids – That’s probably us creatives btw. And these unspoken peer agreements of course, in school or in adult professional life, make it more difficult or certainly more high risk for us to call out, bullies. In too many ways, political correctness has been a bully. JudgeJudy Sheindlin   Bullying can build too, to the point where you dread going to work, and where your home and family life is affected. I can’t explain to you the misery I was put through at in a regional theatre show I was cast in when I was an actor and just starting out. Another actor in the production used to needle me and give me notes at every opportunity and got me so worked up about a certain scene that required our joint timing that I dreaded not only that scene but going into the theatre at all. I was stuck there though as there isn’t an option for an actor to drop out of something without causing a whole lot of trouble, so I suffered it and it was a miserable time for me. Years later, incidentally, that actor came and apologised to me, which was an interesting and welcome turn of events. I respect him greatly for that. Another form of bullying I’ve experienced, although it may be regarded as just bad behaviour by most, is that of BEING USED AS A PROP FOR SOMEONE ELSE’S EGO. Last year I was hired to work on a show which had a lot of background re-enactor fighting extras, but not as fight director, as a safety advisor instead - and I was happy to fulfil that role. Now at the risk of this sounding like this is a promo for my fight work, I can say that I am really good at what I do, extremely experienced, stupidly good with a sword and beyond that, I am pretty darn fast. I had been asked to attend by the producer who was clearly concerned about safety, and quite rightly so. On a few rare occasions that day, I found I had to intercede, very politely and quickly to keep things safe, but the director - who REALLY didn’t want me there in the first place it became clear - pulled me aside early on and told me he didn’t have time for my intervention. He only pulled me about 6 feet away from the others though so this ensured that everyone heard him in effect TELLING ME OFF. As he rushed back to continue his work I announced quite loudly, in response, that whether he had time for me or not, I was going to go right on ensuring that we do it in all a safe way anyway. He didn’t say two words to me the rest of that day, but nobody got hurt and the number of background artistes that came and thanked me that day for my help in keeping them safe was very significant. In fact, I don’t think I’ve ever had so many people thank me on any other production – THE REENACTORS were clearly very happy I was there to keep them safe. About halfway through the day, I spoke to the producer about the incident as I was unnerved. He simply said I wasn’t there to be liked. I couldn’t really disagree so I went along with it. I’m just not in the habit of making enemies… So how do we begin to combat this? What do you do if you are being bullied? Most advice that I’ve read online says that in the first instance, you should seek to solve your problem informally. If you feel safe and comfortable speaking to them that is. Informing them that you will be taking a more official route if they don’t change their behaviour may be enough to stop the attack. Michael Caine talks about this, but kinda in reverse - I’ve been looking for the exact quote but haven’t yet discovered it. He was to be working with a director who he’d heard was known for shouting at his actors. Before he started the film he said to the director “I hear you like to shout at people - I don’t like being shouted at” and he says “you know, that director never shouted at me once". Maybe that director was a bully and maybe he wasn’t but Michael Caine short-circuited any opportunity for bullying before it even started. For many, the informal way isn't an option so if this is the case you should make management aware of what’s happening. If you are STILL not satisfied that the harassment has stopped, if it is not taken seriously by your line manager, or if the problem gets worse, you should seek to make an official complaint or, if you have one, take it to your union. Amy Cooper Hakim of PSYCHOLOGY TODAY SAYS BE CONFIDENT AND USE SIMPLE, UNEMOTIONAL LANGUAGE. She says “Bullies lose their power if you don’t cower. Deep down, they doubt they deserve your respect. They admire you for speaking with self-assurance and confidence. So when they bombard, don’t counterpunch. Rather, win them over with your strong, firm, courteous demeanour.” And she says “know that the victim does not intend to be victimized. It does not seek forgiveness, but does not pose a challenge either.” I tried this approach once, The bully became so enraged by my calm response and presentation of facts that it makes me laugh even now. I had caught them with their hand in the proverbial cookie jar and their rage was IN EFFECT staged to hide their embarrassment and humiliation at being caught out. Signe Whitsonsays, STAY CONNECTED. “Bullies operate by making their victims feel alone and powerless.” So you should keep people informed of your situation. It will also alleviate your stress about the matter when you share your problem and gain an ally. Psychology Today also recommends that we SET LIMITS. This is exactly what Michael Caine did in my earlier example. Chrissy Scivicque writes, “The trick is to remain polite and professional while still setting your limits firmly. Don't let the bully get under your skin—that's what he wants. Practice your response so you're prepared the next time something happens and you can respond swiftly without getting emotional. Keep it simple and straightforward, for example: ‘I won’t be talked to in this way.’” Whitson further tells us to ACT QUICKLY AND CONSISTENTLY. “The longer a bully has power over a victim, the stronger the hold becomes. Oftentimes, bullying begins in a relatively mild form—name calling, teasing, or minor physical aggression. After the bully has tested the waters and confirmed that a victim is not going to tell anyone or stand up for their rights, the aggression worsens.” Sometimes all you have to do with a bully is wait a little while and STRIKE WHILE THE IRON IS COLD.. Rather than exchanging hostilities, step back so that you are not responding in the heat of the moment and meeting them on their own level. Cool heads find solutions more easily than hot ones. Besides, if you step back, they may do the dirty work for you.  Wand another thing that all of the articles I looked at had in common was that YOU MUSTN’T SEE YOURSELF AS THE PROBLEM. "Nobody can hurt me without my permission."  —​ Mahatma Gandhi UNQUOTE and he also said that Bullies are always to be found where there are cowards btw. One article said that the reason people experience bullying is not because of their sexuality, gender identity, race, appearance, disability or any other unique factor; it is because of bully’s attitude towards the factor. The only thing possible to change is attitudes. I say that the person who is bullying you is the one with the issue, not you. It’s just the way things are. You don’t have to give yourself the additional burden of trying to change them. Remember that sometimes, a bully will always be a bully.   I’d like to look back over the situations which I have previously outlined, and by using Napoleon Hill’s method of ACCURATE THOUGHT, try and  figure out why they occurred and how we can protect protecting ourselves and others from it in future. The 1st AD who talked down to me is fairly regularly employed for one very clear reason - he brings productions in on time: and that, in the end, seems to be all that really matters to many production companies. And the production company who put the film together to be fair, may never have even heard about my mistreatment, or the mistreatment of others  – And why not? Because I let it go and continued to work on in fear. My keenness, especially in my younger days, to make an impression and drive things on meant that making a formal complaint was not an option because I wanted to keep my job. I 100% certain that at the time, if I had reported a grievance, that it would have been me that got dropped from the production and not the bully who was running the show. In hindsight what I SHOULD HAVE DONE was to confront the bully right then, just as Michael Caine did, and set out my limits. That talking to me in the way he did, dismissing my experience and my qualifications and placing me in situations in which I had absolutely no support, WAS NOT AND NEVER WOULD BE ACCEPTABLE. If I had done that, I believe things would have been different.   Let’s look at another situation. The actor that drops me in it. Actors often don’t get taken to task over bullying behaviour as the aim of everyone on any given production is to keep things moving and shoot what’s on the call sheet OR if it’s a longer shoot and they are a main character, they may kinda get away with it, very likely with a talking to along the way from a producer, until they leave the production. The last thing we do on a busy shoot day is upset an actor that has important scenes coming up and 99 times out of 100 replacing them is usually not an option. Much of the time, therefor, a bullish actor is allowed to badly for a time at least, for the sake of peace, the saving of budget and for the sake of the show. Over time though, what I’ve discovered is that an actor that does this to me will be playing other games with other people and their reputation will surely dive. This sort of trouble bothers me less than it used to as I mostly work with very awesome and very professional people. Although the actors of which I speak may not know it, and you should know this now if you are one, causing upset and trouble, or playing games or bullying other actors or crew inevitably leads to one thing - being dropped sooner or later from the production or finding that unemployment occurs more often than it used to. What goes around comes around remember. A situation happened to me once with an actor who thought he’d give his opinion very loudly about a fight scene I had directed. It bothered me as it was early days in my career and I spoke to the producer about it. He said this to me. “Ignore him - he’s a wee BEEP”. And in one stroke this both calmed and reassured me. Unbeknownst to me, everyone already knew how difficult the actor could be. The act of complaining, was like water off a ducks back to the producer as he’d cried wolf so many times before. He was known for his power plays especially with bit-part actors or crew who were on dailies - and my reputation was untarnished. Martin Luther King Jr said “In the end, we will remember not the words of our enemies, but the silence of our friends.” And this represents my greatest revelation about bullying in recent years… I can affirm that now, I remember the inaction of my friends and colleagues with far greater clarity than the actions of the bullies themselves. It probably doesn’t sound it but the bully that had moved my chair was one of the more troubling incidences that I recounted. This guy was an ass of the highest order, but I have noted over the years that asses, if they have talent or some other redeeming feature in the eyes of the producers - are very often left to behave in the worst ways. Personally, if I’d been in a group when someone did this for sheer badness I would have spoken up - but not one of these people did. Why didn’t they though? Well, I’d put my money on peer pressure. They were scared to go against him for fear of being targeted themselves. It was a very poor show by my so-called colleagues that day but I’m happy to report that karma caught up with him on another production and one of his targets straightened up his attitude for him. Finally, I want to revisit the situation that happened with the crewmember who was physically threatened. Unfortunately, they decided to walk away from that production as the immediate stance that the producers took was not to fire the bully but to let it pass. I think there was some noise created by those in his department which sounds something along the line of; if he goes I go, effectively putting the producers in a tight situation. From what I can gather though, by the very act of walking off the production brought about a number of fresh bullying complaints by other crewmembers about the same guy. I get that the producers found themselves in a tricky situation and I wonder how I would have handled it myself – but this is a retrospective so I’ll say that I understand it but I disagree with how they handled it. With a producer having witnessed the threatening behaviour of one crewmember to another, they should have fired the bully. They didn’t, and this has had repercussions beyond that production. I’m sure too that this would have unnerved and caused upset right across their production as word went round that this sort of behaviour had been let to pass. If they had stood their ground, and NOT ALLOWED THEMSELVES TO BE BLACKMAILED by that department, the film would have continued with different people in those roles and a happier and healthier and I’d like to think better production to show for it. As we discovered earlier in the season, they one broke the golden rule of success when they let behaviour like this pass. If you are a producer it would time well spent, if you ensured you have an anti-bullying policy, or build it into your contracts from now on. The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy. Martin Luther King, Jr. UNQUOTE I’ve got to wrap this up but before I do I must go back to the situation where I found myself being side-lined, and which led to a very aggressive bullying attempt by someone, that to be honest - I had always known was difficult. This was a situation where I did expect others to step up and help me – but I can only conclude that they didn’t want to put their head above the proverbial parapet for fear of being targeted themselves, and by doing so they chose to stand by and let me be abused. While a known bully is targeting one person, you see, it means they are not targeting someone else, and the others then feel safe. It’s a very sad and disappointing observation, but I believe that this is what was in play. In the long run of course, the bully will turn on them, and finally they too will realise that the time has come to stand their ground, or depart. Summing Up Desmond Tutu said “If you are neutral in situations of injustice, you have chosen the side of the oppressor. If an elephant has its foot on the tail of a mouse, and you say that you are neutral, the mouse will not appreciate your neutrality.” I was that mouse and in the situations, I listed above and would have appreciated the help of a bystander if it had been offered… and if I was ever a neutral in the past I am determined not to stand by and let a bully get away with it any more. The Bully has a Jekyll and Hyde nature - is vile, vicious and vindictive in private, but innocent and charming in front of witnesses; no-one can (or wants to) believe this individual has a vindictive nature - only the current target of the serial bully's aggression sees both sides; whilst the Jekyll side is described as "charming" and convincing enough to deceive personnel, management and a tribunal, the Hyde side is frequently described as "evil"; Hyde is the real person, Jekyll is an act. Tim Field UNQUOTE There are complicating factors in talking about bullies that I must mention, if you’ve not yet had enough. Issues raised when confronting BULLIES can be followed by counter-allegations of ill-treatment and unfairness and allegations of bullying will often follow on from disciplinary or grievance procedures. When you call out a bully, they may well instigate some form of tit for tat response so be prepared for this. To protect yourself you should "document any incident of harassment in detail and include the date, times, place, who was involved, what happened, and the names of any witnesses.” I use the call recorder app to help me out in difficult situations like this that may happen on the telephone. If you haven’t heard it then look back to Episode 27 - FIVE MORE FREE APPS TO MAKE YOU MORE PRODUCTIVE to find out more. Bullies melt like the wicked witch of the north when faced with facts and figures, believe me, and armed with facts you will always come out on top. My pain may be the reason for somebody's laugh. But my laugh must never be the reason for somebody's pain. Charlie Chaplin UNQUOTE Call To Action Your call to action today is simple. 1/ If you witness bullying, remember the words of Martin Luther King Jr “In the end, we will remember not the words of our enemies, but the silence of our friends.” And step in and help. 2/ and If you are being bullied at the moment then use the tips that I have listed here to get back control. Hopefully, others will step up and help you, but if not, then: SET LIMITS. ACT QUICKLY AND CONSISTENTLY and call them out. BE CONFIDENT AND USE SIMPLE, UNEMOTIONAL LANGUAGE. And if that isn’t an option DOCUMENT THE HAPPENINGS TELL OTHERS OF YOUR PLIGHT And STRIKE WHILE THE IRON IS COLD. Cool heads find solutions more easily than hot ones. Ending Bullies are bullish by nature and need to be called out. This doesn’t mean that they will stop their inherent bullying tendencies, but they will know that if they try it that they won’t get away with it. That’s been a helluva long episode but I couldn’t let another series pass without going into this topic and once I started I knew I couldn’t do it by halves. I want to thank everyone that’s spoken to me about their experiences lately and all of the awesome production people that have supported me over the years. I have worked and continue to work with some truly amazing producers, production companies and 1st AD’s etc who really care about how things are done and how people are treated. I am lucky to have been working for many years with the BBC who are all over any form of bullying and I’m eternally grateful for the help I have found there over the years. I’m also thankful to British Actors equity, Bectu and BAPAM for being there whenever I need them. I’d also like to thank Giles Alderson of The Filmmakers Podcast for sponsoring this episode. It’s a great show so get subscribing. I’ve got links to many of the references that I made here in the show notes and if someone would care to recommend any further links on this topic please do so and I’ll add them to the page. I’ll end with the words of Abraham Lincoln “I would rather be a little nobody, then to be a evil somebody.” For now, though, take control of your own destiny, stand up to bullies, keep on shootin’ and join me next time on FILM PRO PRODUCTIVITY! The music you can hear right now is Adventures by A Himitsu You can view the show notes for this episode on the official website filmproproductivity.com You can follow my personal account on Twitter and Instagram @fight_director or follow the show on Twitter @filmproprodpod or on Facebook @Filmproproductivity Please support the show by subscribing, spreading the word and leaving an AWESOME review. References: https://www.topresume.com/career-advice/how-to-handle-bullying-at-work www.respectme.org.uk http://www.mightyfighter.com/bullying-quotes/ https://en.wikipedia.org/wiki/Anti-Bullying_Day  https://www.caba.org.uk/help-and-guides/information/dealing-workplace-bullying https://www.psychologytoday.com/us/blog/happiness-and-the-pursuit-leadership/201602/bullies-cause Thanks: A Himitsu Music: Adventures by A Himitsu https://www.soundcloud.com/a-himitsuCreative Commons — Attribution 3.0 Unported— CC BY 3.0 http://creativecommons.org/licenses/b... Music released by Argofox https://www.youtu.be/8BXNwnxaVQE Music provided by Audio Library https://www.youtu.be/MkNeIUgNPQ8 ––– • Contact the artist: x.jonaz@gmail.com https://www.facebook.com/ahimitsuhttps://www.twitter.com/ahimitsu1 https://www.youtube.com/channel/UCgFwu-j5-xNJml2FtTrrB3A  

A panel of screenwriters share their advice on getting your idea from the page to screen. Panellists include Louise Ironside (Call the Midwife, The Split, Shetland), Paul Logue (Shetland, Midsomer Murders, Waterloo Road), and Sarah Phelps (Dublin Murders, The ABC Murders, Ordeal by Innocence). Hosted by Sarah Brown (Head of Drama, STV). Supported by BECTU

Today's guest is Paul Dudbridge, author of Making Your First Blockbuster: Write It. Film It. Blow it Up! Paul Dudbridge is a British director, producer, cinematographer, ​and educator, making feature films, television, commercials, and music videos. Paul started producing at the age of 11 when he roped in his father to shoot his first short film. When the resulting footage didn’t match up to what he had seen in his head, Paul decided to go behind the camera himself, and from there the whole notion of making films; directing, scripts, shots and angles started to come about. With over 20 years of​ experience in the business, Paul has numerous film and television credits to his name. His first broadcast credits include producing and directing ITV’s The Christmas Storybook, featuring legendary actor Joss Ackland, as well as directing music promos for MTV. His work as a cinematographer includes the action thriller By Any Name based on the best-selling book by Katherine John. As a producer and director, he helmed the science-fiction series Horizon, which went on to win a number of awards at international film festivals, as well as earning Paul a Best Drama Director nomination at the Royal Television Society (WoE) awards in 2016. When not filming, Paul guest lectures at various universities and colleges around the country. Most recently, he ran the Writing and Directing module for the Master's​ course at the University of Bristo​, taught Cinematography at Falmouth Film School, and Advanced Cinematography workshops for BECTU, the UK’s media and entertainment trade union. Enjoy my conversation with Paul Dudbridge.

Monday 6th August, Senedd, Cardiff There’s been much to celebrate in Welsh media in recent years: from the success of prominent dramas such as Dr Who and Keeping Faith / Yr Bore Mercher, to new production studios, increased viewing figures and a rise in online and community journalism. There have also been a number of challenges, not least the effects of global trends in consumption and viewing habits on traditional forms of media. This discussion considered how sustainable indigenous content production is here in Wales. How can we ensure content continues to be produced and its benefits felt in Wales? What does this mean for the workforce of today and the future? Can content production in Wales survive in a global media landscape without compromising delivery to audiences at home? This event was chaired by Elis Owen, Freelance Producer and Chairman of It's My Shout training scheme. He was joined by: Emma Meese, Media & Training Development Manager, JOMEC, Cardiff University Ifan Morgan Jones, Lecturer in Journalism, Bangor University Sian Gale, Training Manager / Creative Unions, BECTU Darlith yr Eisteddfod Sefydliad Materion Cymreig 2018: Dyfodol Cyfryngau Cymru: Sut gallwn ni ddiogelu cynaliadwyedd y gwaith o gynhyrchu cynnwys brodorol yng Nghymru? Bu cryn dipyn i’w ddathlu ym myd y cyfryngau yng Nghymru yn ddiweddar: o lwyddiant dramâu blaenllaw fel Dr Who ac Un Bore Mercher/Keeping Faith, i stiwdios cynhyrchu newydd, cynnydd yn nifer y gwylwyr ynghyd â chynnydd mewn newyddiaduraeth ar-lein a newyddiaduraeth gymunedol. Gwelwyd hefyd nifer o heriau, yn enwedig effeithiau tueddiadau byd-eang mewn arferion defnyddio a gwylio pobl ar ein cyfryngau traddodiadol. Bydd y drafodaeth yma’n ystyried pa mor gynaliadwy yw’r gwaith o gynhyrchu cynnwys brodorol yng Nghymru? Sut gallwn ni sicrhau y bydd cynnwys yn parhau i gael ei gynhyrchu yng Nghymru a sut gallwn ni sicrhau budd hyn oll i Gymru? Beth mae hyn yn ei olygu i’n gweithlu ni heddiw ac i weithlu’r dyfodol? A oes modd i waith cynhyrchu cynnwys yng Nghymru oroesi mewn tirlun o gyfryngau byd-eang heb gyfaddawdu profiad ei gynulleidfaoedd gartref? Cadeirydd y digwyddiad fydd Elis Owen, Cynhyrchydd Llawrydd a Chadeiryddcynllun hyfforddi It's My Shout, yng nghwmni: Emma Meese, Rheolwr y Cyfryngau a Datblygu Hyfforddiant, JOMEC, Prifysgol Caerdydd Ifan Morgan Jones, Darlithydd Newyddiaduraeth, Prifysgol Bangor Siân Gale, Rheolwr Hyfforddiant / Creative Unions, BECTU

Amy Sherman-Palladino, the screenwriter and director who found fame with hit show Gilmore Girls, discusses her latest TV comedy drama The Marvelous Mrs. Maisel. Set in 1950s New York, it's about an Upper West Side housewife who becomes a stand-up comic when her life takes an unexpected turn.As the Film Awards Season gets into full swing with Spielberg's drama The Post winning at the National Board of Review, how will the sex scandals engulfing Hollywood impact on the films lauded this year, and the awards ceremonies themselves? Are costume workers undervalued and underpaid? Gaylene Gould is joined by Catherine Kodicek, Head of Costume at the Young Vic, and Nicole Young from BECTU, to discuss the pay and conditions of costume and wardrobe professionals in theatre, film and television.

How have unions been portrayed in film and TV, and why aren't there more representations of unions and class struggle on screen? The Labour Days crew attempts to answer these questions, with (mostly passing!) reference to TV shows and films including The Simpsons, The Wire, Studio 60 on the Sunset Strip, Days of Glory, Matewan, Pride, Made in Dagenham, Newsies, Our Friends In The North, GBH, Boys From The Black Stuff, Coronation Street, Brookside, and many more. Joining us to discuss the issues was screenwriter Clive Bradley (writer of Trapped, W-Delta-Z, and much more), a veteran socialist activist and member of Lesbians and Gay Men Support the Miners (LGSM), whose story was told in the film Pride. Research referred to included the work of Steven J. Ross (Professor of History, USC) and Victor G. Devinantz (Professor of Management, College of Business, Illinois State University), and the documentary Class Dismissed: How TV Frames The Working Class (2005, dir. Pepi Leistyna). We gave shout outs to the Barts NHS Trust cleaners/porters strike, which you can read about at http://www.unitetheunion.org/news/striking-workers-from-barts-stage-protest-outside-serco-investors-meeting, and the new picturehousefour.org website, building support for sacked Bectu reps at the Ritzy cinema. We also mentioned Dead Ink Book's 'Know Your Place' project, a symposium of essays on working-class experience which you can read about and support here: https://deadinkbooks.com/know-your-place-on-kickstarter/ We don't own the rights to any of the clips featured in this episode, which are all the property of their respective creators (obviously).

In this episode, Professor Edmund "the Brain" Mustill takes the gang through a potted history of industrial unionism, and discusses how it differs from craft-based models of trade unionism. We hear from Jade Baker, a teacher and National Union of Teachers (NUT) activist in south London, about the NUT's upcoming merger with the Association of Teachers and Lecturers (ATL), to form the National Education Union (NEU). Daniel talks about his experiences as a rep and activist in National Union of Rail, Maritime, and Transport workers (RMT), and we discuss whether industrial unionism is still a relevant concept today. We also mention a few recent events at the top of the show, which we said we'd expand on in links in the episode description: * For a range of articles on the Grenfell Tower tragedy, and links to various support funds, see: https://theclarionmag.org/2017/06/15/grenfell/ * To support the United Voices of the World (UVW) following their win at LSE, visit their website: https://www.uvwunion.org.uk * For post-general election discussion and analysis, we recommend The Clarion magazine, co-edited by our very own Edd: http://theclarionmag.org * Keep up to date with the Picturehouse cinema workers' dispute, and donate to their strike fund, at http://www.picturehouselivingwage.com. For info on the outrageous sacking of four Bectu reps at The Ritzy cinema, see https://www.theguardian.com/uk-news/2017/jun/30/stop-these-threats-in-picturehouse-dispute, and click here to see Helen Hayes MP asking a question about the dispute and the sacking at Prime Ministers' Questions: http://tinyurl.com/PMQ0717 The Eugene V. Debs article Edd quotes from is here - https://www.marxists.org/archive/debs/works/1905/industrial.htm. You should read more Debs generally. The clip of David Dimbelby announcing the exit poll on the BBC was taken from YouTube, and the intro music and audio motif taken from 'Labor' by Aesop Rock. We do not own this music, which is copyright Def Jux, 2001.

This week, we talk to Will and Maryam from the Picturehouse Living Wage Campaign about their fight to win decent pay and working benefits from the Scrooge-like cinema chain. We discuss how they got organised with their union BECTU, what it's like striking in an era of historically low union activity and job precarity, why it's necessary to fight for your rights, and what you can do to consider following their example in your own rubbish exploitative workplace. We also find time to encourage Rebel Wilson to lie to journalists and we sympathise with the director of The Mummy, Alex Kurtzman, having to explain to the media why everyone hates his awful film.Will and Maryam are part of the Picturehouse Central campaign. Follow them on Twitter @CPHLivingWage, and their fellow campaigns at: the Ritzy (@RitzyLivingWage), Hackney (@HPHLivingWage), Crouch End (@CEPHlivingwage), East Dulwich (@EDPHLivingWage), and Brighton (@UnioniseDukes)! See acast.com/privacy for privacy and opt-out information.

Introduction to the IWA Cardiff Media Summit 2017 "The Sustainable Media Workforce" session from Sian Gale, BECTU. Followed by Dr. Caitriona Noonan, Lecturer in Media and Communications, Cardiff University chairing a session with David Donovan, Negotiations Officer, BECTU; Gareth Powell, COO, BBC Cymru Wales and Alex Martin, Senior Project Manager, Creative Skillset in discussion. #IWAMedia

Phil Mills is on the National Executive Committee of BECTU. Having worked in theatre for over thirty years, here he discusses the low numbers of black theatre workers, particularly in creative or skilled positions.